Television production involves assembling source material such as the input from one or more cameras, video and audio into playlists or sequences being playlists with defined transitions, to create a program. How the sequences are assembled depends on whether the program is intended for live broadcast or whether it is pre-recorded for broadcast at a later period in time. Source material for live broadcast is typically captured from multiple cameras, assembled and then broadcast directly from a control room. Source material for pre-recorded broadcast may be retrieved from an archival facility, assembled into a program and then stored for broadcast at a later date. FIG. 1 illustrates an overview of the production and broadcast process.
In a production, the assembly of source material occurs in the control room which is configurable in three different ways; as a studio control room, an outside broadcast control room or a flyaway control room. Studio control rooms are typically a fixed facility within a building, controlling signals from cameras and microphones from a studio floor. Outside Broadcast control rooms are constructed in a vehicle such as a truck or van and generally deployed for sporting and entertainment events. The picture and sound signal from an outside broadcast van can be transmitted back to the TV station by microwave radio link, satellite or fiber optics. Flyaway control rooms, like outside broadcast control rooms, are portable, and generally used for outside broadcasts. Advantageously, flyaway control rooms are configured to break down into smaller components that can be packed into road cases, shipped to a location and reassembled for a specific event.
Typically, for an outside broadcast control room, the production crew is made up of at least twelve people, excluding camera operators. Table 1 lists each crew member and their associated responsibilities.
In the control room, the director co-ordinates and issues commands to the crew according to a storyboard. The director usually communicates with the crew via an intercom system. The director views on a first bank of television monitors the pictures coming from each camera. Typically a monitor is available for each source. Each camera operator works to pre-agreed guidelines and responds to the director during the production to ensure that the necessary picture is on the respective monitor as requested by the director. The director's assistant notes the timing and time code of each event captured by the cameras, which events from particular cameras the director may require later for editing, and advises the director on the overall timing of the production.
TABLE 1Role#DescriptionDirector1Controls all aspects of the production,directing how and when sources are combinedand assembled into final program. No significantequipment operated. Primarily directs otheroperators.Director's1Assists the Director in timing and loggingAssistantof events and in providing graphic information.Often operates graphics generator.Vision1Operates a vision switching panel and videoSwitchereffects unit under Director's commands.Technical1Technical responsibility for program contentManagerduring production. Operates a range oftechnical monitoring equipment.Broadcast1Responsible for setup and configuration ofEngineerall equipment and troubleshooting/maintenanceduring production.Camera2Controls camera control unit CCU panels forControleach camera to ensure camera vision hasOperatorscorrect exposure and colourimetry.Audio1Operates an audio mixing panel to combineDirectoraudio sources into completed program. Followsthe video and Director's commands.Videotape4Record and replay video and audio sourcesOperatorsusing discrete magnetic storage devices.Generally videotape based with one videochannel possible per machine.Total12
The vision switcher follows the director's commands and operates a large and complex vision switching panel positioned in front of the first bank of CRT monitors to mix and switch all the picture sources including live camera feeds, replays and graphics which make up a program. The vision switcher is also responsible for creating most of the digital video effects DVE's) which are produced electronically by an associated. DVE panel which may be built into the vision switcher. Typically, the vision switcher panel is rigidly built into the control room. The vision switching system is typically made up of a mixer frame and complex panel. Memory recall procedures on the panel are usually complex with poorly identified descriptors requiring the operator to remember significant detail about what is stored where, and requiring the operator to perform multiple keystrokes to recall programmed elements. Moreover, the vision switcher is usually required to integrate the individual video sources into a sequence, adding the transitions in a manual process under the supervision of the Director. Typically all switching has been performed using button presses on the panel.
The traditional configuration for the recording and replay of signals has been to use up to four videotape recorders (VTR's) and respective videotape operators to selectively record and then replay portions of the event. Not all cameras are recorded nor are they recording constantly. The videotape operators are seated behind a second bank of video monitors and are each responsible for recording a description of the action from a particular camera together with an appropriate time for the backed up tape. Traditional configurations use multiple video monitors for each operator, consuming space and generating significant heat loads. This also limits the flexibility with which the system can be located. Due to the area required for this activity, the video tape section is located away from the Director and communication is effected using talkback systems. This results in much additional activity merely to co-ordinate the two functions. An additional supervising operator typically monitors the activity of recording and replaying and assists the Director with editorial decisions on which source is to be replayed and in what order.
Videotape operators are further responsible for queuing the tape for replay whenever the director requires. To be able to do this, the videotape operators have to pull out their records, check the position on the tape where the particular event of interest happened, cue it ready for replay of the event and tell the vision switcher that they are ready. The videotape operator not only selects and plays the correct tape, but also gives regular time updates until the end of the video playback.
The graphics operator is responsible for queuing in graphics such as a scoreline, players' names, and any other text or graphic which needs to be generated on the spot.
Having instructed the videotape operators to cue a particular replay, the director will then instruct the vision switcher to select the most appropriate camera angle. Understanding instructions from the director, the vision switcher will also add the appropriate graphics to each of the replays.
Just as the vision switcher mixes and switches picture sources, the audio director works from a mixing desk in the audio room, mixing sound signals from different sources and switching from one source to another. Also working in the control room are the camera control operators who have technical control over the cameras.
FIG. 2 illustrates a control room of a typical traditional outside broadcast van 20. The control room is segregated into various areas. In the video area 22, workstations are erected for the director, the director's assistant and the vision switcher. To one side of the video area 22 are multiple workstations for the videotape operators 24 to record and archive source material. To the other side of the video area is the area designated for production 26 and beside that the audio area 28. The workstations are built into desks primarily due to their size and the need to associate them directly with fixed, wall-mounted monitoring systems for the video and audio signals. As a result, certain operators are limited to certain areas.
Behind the video area is the engineering area 29. Traditional systems do not provide any centralised monitoring or system management. The engineer must address each device individually and generally has to wait for the results of a device failure to become evident rather than be prompted that a failure is imminent or has occurred. Setups must be re-set each time an event is undertaken. Depending on the device, individual operators may carry personalised operational disks with them to boot up the device with their preferences but generally no central management of this takes place.
The standard equipment used in television production equipment has not changed significantly in decades. Control rooms have remained static over time, and even though individual pieces of equipment have evolved, the pattern of staffing and the nature of the roles they perform have not changed.
In recent years, the television industry worldwide has commenced a transition to digital technology, in both production and transmission environments. Digital technology has brought with it additional features in some equipment, and has also supported the development of some new tools. However, the basic functions of the equipment have remained much the same.
Television has been, and is, subjected to increasing cost pressures for a number of reasons including the large size of the production crew, the increasing cost of basic production equipment, increased competition for viewers from a dramatic increase in the number of channels for distribution; changes in viewing patterns, and escalating costs for program rights—for sporting events in particular.